British cinema of the 20th century took a turn in February 1956. The fault lay with a group of writers called angry young people who made the bitterness of the lower classes an incombustible engine of creativity; This jumped to all the arts, the seventh being bathed by a realistic aesthetic in fiction film and documentary film that focused on everyday life. And in this spiral of reactionary change in the face of classical artificiality, the Free Cinema, whose pool of actors would mark the cinema of the following decades. Thus the face of Shirley Anne Field.
The performer opened her eyes for the first time in 1936, in Essex. And she finally closed them just a few days ago. It was the actress’s own family who spread the news. It is with great sadness that we share the news that Shirley Anne Field passed away peacefully on Sunday, December 10, surrounded by her family and friends.they have written, lamenting the death and making the phrases an extension of their condolences: we will miss her very much and we will remember her for his unbreakable spirit and incredible legacy spanning more than five decades on stage and screen.
The angry sixties
After paving his way with sporadic participation in smaller projects, soaking up the new trend that UK cinema was witnessing, Field entered through the front door in 1960 by playing Diana Ashley in Peeping Tom y a smile on the Hoppers Once more with feeling. Later his stardom would come with The War Lover (1962), alongside Steve McQueen and Robert Wagner. This decision meant ruling out a leading role in A Kind of Lovingby John Schlesinger, something he later regretted.
It was the stuff dreams are made of, but I couldn’t enjoy it as I should. When I arrived I was very scared and tired and the sun was too yellow and the orange juice, he said of that election, adding that, successes aside, it was a poison dart towards his own head: it was very stressful and he had a headache all the time. He just wasn’t used to it. I had no one to take care of me.
When I appeared in Alfie along with Michael Caine, back in 1966, he was already an instant classic. Suya was the fusion of that marked English cinematographic accent rooted in the new era of films inspired by the French New Wave. He was active until the 2010s, with a much more discreet career, but maintaining intact a face that the most nostalgic do not forget as the one that accompanies a whole group of youth players of the seventh art who only followed the voice of the angry.
